问题 问答题

齐白石有旬名言:“学我者生,似我者死”,请结合自己谈谈是怎样理解这句话的

答案

参考答案:这句话里面蕴藏着深厚的做人和处事道理,是这位艺术大师多年来艺术经验的总结和升华,它的意义已经不限于艺术领域了,而是可以普遍地适用于社会生活之中。 所谓“学我者生”,指的是领略了其创作的艺术本质所在,也就是了解了艺术创作的规律,可以自由地挥洒和创造。 所谓“似我者死”,指的是已经有了一个齐白石,你学得再像,还能超过他吗因此必须自出机杼,有创新才有更大的进步。否则就只是“画虎不成反类犬”了。

单项选择题
填空题

[A] Storytellers from antiquity knew the power of star-crossed romance, and so did Audrey Niffenegger. Her 2003 best seller The Time Traveler’s Wife is so plangent a tale of fatal love, with two adorable people fighting to beat the odds against them.
[B] Henry, you see, has the gift or curse of time-traveling: disappearing from one temporal and spatial reality to pop up, naked, in another. This science-fiction trope will be familiar to fans of The Terminator, but Henry is no action-fantasy god. He’s just a guy whose body has a wanderlust he can’t harness. That’s why, as he tells the besotted Clare, "I never wanted anything in my life that I couldn’t stand losing. " Of course they’re destined to be each other’s one and only loves.
[C] My friend and neighbor, the filmmaker Alan Wade, has a provocative explanation for why Titanic struck such a p and reverberant chord with hundreds of millions of moviegoers, especially women: the hero dies. OK, that breaks a cardinal rule of movie romance: that the lovers kiss happily at the final fade-out. Most examples of the genre end with that rosy image, in part because their makers are reluctant to bum out their audience.
[D] Henry (Eric Bana), who works in a Chicago public library, is in the reading room when a woman he’s never met walks up to him and says dewily, "I’ve loved you all my life. " She’s Clare (Rachel McAdams), a young artist, and in her past--Henry’s future-he has visited her and won her undying devotion.
[E] James Cameron must have been tempted to end his film with Leonardo DiCaprio’s Jack surviving the ship’s sinking and enjoying a long life with Kate Winslet’s Rose.
[F] That it’s surprising it took six years for it to get to the big screen. Maybe prospective producers were reluctant to buck the prevailing wisdom of a conventional happy ending. Anyway, here is the film version, directed by Robert Schwentke. It’s soppy enough to suit the requirements of the weepie genre, and there’s a music score that tries to cue all the emotions in viewers, as if they’re incapable of locating their own feelings. But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
[G] But Cameron realized that by killing off Jack, he was raising the movie’s stakes from domestic platitude to classic romantic tragedy. Jack’s death stamped both finality and immortality on the lovers’ shipboard tryst. Because he is gone, their love will live forever.
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